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I
n this instalment we tackle another controversy over the exact details, but there is Illa. Meaning ‘This Tearful Day’, the sombre
beautiful work by the sublime musical compelling evidence that Mozart was melancholy of the piece is sublimely moving
master Wolfgang Amadeus Mozart commissioned to write the work (for an DQGDSSURSULDWHWR0R]DUW¶V¿QDOGD\V
(1756-1791). No brief introduction can do ensemble of wind, brass, strings and timpani, 0R]DUWRQO\ZURWHWKHDOEHLWVWXQQLQJ¿UVW
justice to his staggering skill, legacy, four vocal soloists and mixed choir) by Count bars, and Süssmayr completed the work with
imagination and ludicrous - apparently Franz von Walzegg. The Count wanted the an additional 22 bars. The piece is in a stately
effortless – productivity displayed in his brief Requiem to commemorate his late wife, but 12/8 metre moving through a compelling
and troubled life. But, in short, if the term was himself an amateur musician with a chord sequence in the key of D minor (which
‘musical genius’ holds any meaning, then it’s is maintained here with the use of drop D
hard to imagine anyone more deserving of THE PIECE SITS WELL tuning). The piece sits well on the guitar, and
that description than Mozart.
This particular arrangement is from his
ON THE GUITAR, AND is characterised by the use of slurs and
arpeggios to maintain the 12/8 (four groups of
Requiem In D minor K626, a piece with an IS CHARACTERISED BY three quavers) under the melody. In order to
unusual and intriguing origin (mythologised, SLURS AND ARPEGGIOS JDLQÀXHQF\LWPD\EHKHOSIXODQGJHQHUDOO\
EHQH¿FLDOWRUHDOO\XQGHUVWDQGWKHKDUPRQ\
elaborated and distorted in Peter Shaffer’s
1979 play, Amadeus and the subsequent 1984
MAINTAINING THE 12/8 of the piece (chord symbols are provided),
¿OPRIWKHVDPHQDPH7KHUHLVVWLOOVRPH UNDER THE MELODY which voice-leads beautifully from chord to
reputation for passing off other composers’ chord. There are some technical challenges
works as his own, and purportedly sent a here outlined in the tab captions but they are
messenger to commission Mozart manageable with some patient work, making
anonymously paying half up front and half on the end result well worth the effort.
its completion.
Mozart’s wife, Constanze claimed that in NEXT MONTH Brings us her arrangement of the
Mozart’s delirium during his illness (which he wonderful Barcarolle by Offenbach
attributed to being poisoned but is generally
thought to have been an undiagnosed natural TECHNIQUE FOCUS
ailment), he came to believe that he was
Muting bass notes
writing the Requiem for himself on the
Muting unwanted bass notes is a necessary
ominous request of this mysterious visitor. part of classical guitar technique if you want
Despite working every day, Mozart did not your playing to have harmonic clarity. It often
complete the work before his death on the 5th occurs, when changing chords, that a bass note
December 1791. This left Constanze in a bind, continues ringing into a new chord, and it clouds
who as ever needed money, but could not the harmony. For example, if you pluck an E chord
reveal that the work was incomplete, and with thumb and three fingers of the picking hand:
0XX100 and follow it with an A chord X0X220
commissioned the composer Joseph von
again with thumb and three fingers, the low
Eybler and then Franz Xaver Süssmayr to
Mozart: one of the E will continue sounding into the A chord. To
few deserving of complete it, before delivering to the Count. mute it, sit your thumb back onto the sixth string
the title ‘genius;’ Von Eybler and Süssmayr may have been immediately after plucking the A chord.
aided by Mozart’s sketches, and conversations
TRACK RECORD There aren’t many great guitar recordings of this piece but you can find a variety of disparate performances on YouTube.
To hear it orchstrally try Dunedin Consort’s Mozart Requiem conducted by John Butt (Linn 2014); or, for a period instrument performance,
John Eliot Gardiner conducting a fine ensemble including Barbara Bonney, Anne Sofie von Otter and the Monteverdi Choir (Philips 1987).
50 December 2018
LACRIMOSA DIES ILLA { MOZART
Dm Dm/F E m7 b 5 A Dm D m/F E
™ £œ ™
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. .
E 13 10 10 9 13 10 10 9
B 10 11 10 10 11 10
G 7 7
D 11 12 8 11 12 8
A 8 7 8 7 0
D 0 7 0
3
Dm A Dm C F E7 Am G
¢ .™ ..
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E 0 1 3 5 7 8
B 3 2 3 5 6 9 10 3
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D 3 0 2 0 5 3 5
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5
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D 5
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7
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E 5 6 5 5 13 10 9 10 12 12 10
B 5 6 6 8 10 10 10
G 6 7 10 10
D 0 8
A 4 0 0 7 0 8 0
D
9
December 2018 51
PLAY } CLASSICAL ON THE CD TRACKS 33-34
E b/G B bsus4/A b
B b/A b D m/A B badd # 11 B b7
b£ . ¢ ™œ ¡œ ™
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¡
£ . b . . n . b .
¢ ¡
E 11 3 0
B 11 4 4 3 3 6 5 3
G 12 3 3 2 3 1
D 3 3 3 3 3
A 10 0 0 1
D 5 6
11
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¡ . ‰. ‰. ‰ . ‰. ‰.
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E 3 1 1 0 0 5 3 3 1
B 3 1 1 3 3 3 3
G 1 1 0 0 3 3 3 2 2 2
D 3 2 0 0
A 2 2 3 3 4 4
D
13
b n™ b ™¢¡ n
¢
™ . b b ¢£ n œ.
£‰ £
‰ ™ ‰
. n . n . . n . . ¡ . .
£ ¡
E 7 8 10 10 10 8 7 7
B 9 9 9 9 9 9 9 9 9 9 9 6 6 6
G 10 10 10 10 10 10 10 10 10 10 10 6 6 6
D 0
A 4 4
D 10 9 9 9 10
15
.. n¢. ¢œ
n ¡¡ . .. £¡ n
‰ ‰ . .. ..
. £ . bœ. n . ¡ . £™ œ.
¡
E 7 8 10 8 13 1
B 8 8 8 8 8 8 10 3 3 0 1
G 10 10 9 9 9 9 10 3 1 2 3 0
D 0 3 3 2
A 1 2 3 3
D 10 8 7
17
. ..
. ..
‰ .. ‰
n . b . .. . . . ..
E 1 1 1 1 1 1
B 1 3 1 3 0 3 0 1
G 2 2 3 1 2 3 0
D 3 3 3 3 3 0 3 2
A 0 1 3 1 3 3
D 3
19
52 December 2018
LACRIMOSA DIES ILLA { MOZART
™ . œ. # .
‰ ‰ ‰ ‰ .
. ™ .. ¡ ¢ . . ‰ . ‰. ‰
¢ . .
£ . £ . . .
E 0 1 5 13 10 10 9
B 2 3 3 2 2 10 11 10
G 2 0 0 7
D 3 0 11 12 8
A 0 8 7
D 3 3 2 0 7
21
Dm D m/F E m7 b 5 A Dm D7/F # Gm D7
. . # . œ ¢ ™
¢œ £
..
‰ . ‰. ‰ ¡ . £ . ¡ ..
. ‰ ‰ ¡ ..
.
. . ¡# . ™ .
E 13 10 10 9 6 5 2
B 10 11 10 3 3 1
G 7 6 7 5 3 2
D 11 12 8 0
A 8 7 0
D 0 0 4 5
23
A Dm Asus4 A Dm D7
‰ ™œ ‰
‰ ‰ ‰ ‰ ‰ ™ ¡‰ . ¡
.. n
. . . ¡ .. .
.. ¡ .. . .
. . . .
E 5 5 5 6 5 10 8
B 2 3 3 2 8 7 7 7
G 2 2 2 2 2 2 7 6 7 7 5 7
D 2 2 3 2 2 10
A 0 0 0 0 8 9
D 0 0 0 0
27
Gm Gm/D Gm/B b Gm D
¢
... .. ..
¡
. .. . ..
™ . ™ . ..
E 6 3 3 2
B 3 3 3 3
G 3 3 0 3 3 0 2
D 5 5 0 5 4
A 5 1 0
D 5 0
29
December 2018 53